Seeing the ‘light-colour’ seduces a new kind of touching

When we use a computer, what do we do? Almost all of us look at some image on an electric display, grab and move a mouse, and type on a keyboard, then our right hand holds the mouse in order to point to an image called an icon on the display. This is very 'natural' for us; if our body makes some actions, then the images on the electric display change. However, this relationship between our body and the image did not exist until the computer, and especially until the Graphical User Interface, appeared. I call this phenomenon 'Display Acts': the action formed by connecting our body action with the change of images on the electric display. (Mizuno, 2009) Through living with the computer, we have acquired new actions in order to inhabit this new image world. In other words, 'Display Acts' is the first step for our new actions in the man-computer world. I have already discussed ‘Display Acts’ on the first computer graphic system, Sketchpad, concerning the action of drawing the image with light. (Mizuno & Motomaya, 2008) However, that study did not show why we touch the image on the electric display.
Now, the electric display, for example iPhone, seduces us to touch the image. Erkki Huhtamo writes that:

While the classical cinema and even television broadcasting still emphasize distanced and physically nonactive forms of spectatorship, video game consoles, mobile phones, laptops, iPod and other >handy< electronic devices have familiarized millions to the >>tactile dimension<< [emphasis in original]. (Huhtamo, 2008, p.130)

In other article, Huhtamo adds, “How those development will affect the realm of tactility as we know it remains to be seen.”(Huhtamo, 2007, p.94) This paper takes over Huhtamo’s suggestion and sees a new realm of tactility which the new technology opens to us.

What do we see in the electric display?
At first, we have to consider how our body reacts the image made from the electric light, because this artificial light has totally changed the world. Marshal Mcluhan wrote that;
In a word, the message of the electric light is total change. It is pure information without any content to restrict its transforming and informing power. (Mcluhan, 2003, p.77)
We should know how the electric light affect us when we see it. Most of us see the electric light from TV or computer display everyday. The electric display came into our life as TV in late 1930s, therefore we may say that the TV is the first electric display we are familiar with. Mcluhan gives TV one chapter in “Understanding Media” because he believes that it opens new world. He points out the nature of the TV as bellow;
The mode of the TV image has nothing in common with film or photo, except that it offers also a nonverbal gestalt or posture of forms. With TV, the viewer is the screen. He is bombarded with light impulses, that James Joyce called the “Charged of the Light Brigade” that imbues his “soulskin with subconscious inklings.” The TV image is visually low in data. The TV image is not a still shot. It is not photo in any sense, but a ceaselessly forming contour of things limned by the scanning-finger. The resulting plastic contour appears by light through, not light on, and the image so formed has the quality of sculpture and icon, rather than of picture. (Mcluhan, 2003, p.413)
Mcluhan’s statement is famous because he tells us that the TV image is made from ‘light-through’ and gives us not visual sensation but tactile sensation. Seeing the contour of ‘light through’ means that we directly see the light source beyond the image. As a result, we see the electric light itself in TV image.
Based on above idea, I will especially focus on this phrase; “A ceaselessly forming contour of things limned by the scanning-finger” in order to examine the nature of the relationship between our body and the electric display. This forming contour makes the apparent motion on the electric display. Nelson Goodman considers about the apparent motion as ‘A Puzzle about Perception’ in his “Ways of Worldmaking”. Goodman writes, “that virtually every clear case of visual motion perception depends upon abrupt shift in color.” (Goodman, 1978, p.88) Goodman shows us that the apparent motion happens due not object-shape but object-colour. Moreover, he continues that;

With visual system taking such leaps in stride, with their indispensability for motion-perception, with object-identity dependent not upon smooth color transition but upon contrast with the background at the contour, the color-jumps in the Kolers experiments seem so inevitable as to leave us wondering how we let a false analogy trick us into expecting anything different. (Goodman, 1978, p.89)

Even though we normally think that smoothly changing the colour of object causes the apparent motion, Goodman focuses on the colour-jumps at the contour between the object and the background. It means that we look at not just the object alone but also the relationship between the object and the background. The contour is the place that the background becomes the object, and the object becomes the background, therefore the contour is the place they are ceaselessly merged in each other of colour. This merge makes the apparent motion.
Now, I want to go back to Mcluhan. He gave important role to the electric light because it has the potential to merge figure and ground. (Mcluhan, 1988, p.194) Therefore, the electric light is best media for the apparent motion, “a ceaselessly forming contour of things” in Mcluhan words. However, Mcluhan misses the colour aspect for the apparent motion that Goodman mentioned while Goodman also misses the aspect of electric light for it that Mcluhan mentioned. Therefore, we have to consider not only the nature of electric light but also the nature of colour formed by the electric light.

When we see the electric display, aesthetician Asao Komachiya says that we see ‘light-colour’. ‘Light-colour’ throws away material information and extract only colour information from the object. Komachiya writes:

“Light has no weight. This is our recognition from the experience of human history. Similarly, light-colour cannot express its weight. However, the object described does have a weight. Therefore, the description of the object conveys the weight feeling for us. Paintings have expressed this. .... However, the image made from light-colour does not essentially fit this principle.” (Komachiya, 1996, pp.95-96)

Furthermore, Komachiya affirms that ‘light colour’ opens new image field due to the nature of no contour. (Komachiya, 1996, p.305) ‘Light-colour’ is mainly made from the electric light which has the potential to merge figure and ground, therefore this new colour does not have its contour. Owing to above natures, ‘light-colour’ looks similar to David Katz’s ‘film colour’. (Katz, 1996, pp.7-17) However, unlike Katz, Komachiya mainly takes directly seeing the electric light into consideration, which is a similar point of view to Mcluhan. I would like to suppose that the human has an innate ability to sense no materiality in the colour like Katz’s ‘film colour’ and the electric light make this our ability go into next step: It is ‘light-colour’
According to Komachiya, the ‘light-colour’ image is, however, beyond control for our sensations because it does not fit our traditional principles. ‘Light-colour’ forms an image but it is no weight and contour. We try to merge this new principle to our familiar one, but this task may be beyond the capacity of our brain. Therefore the brain may ask the body to make a new reality for the ‘light-colour’ Image. This seduces our body to touch the ‘light-colour’ image in order to compensate us for its no weight and contour. However, we have not been able to touch it because we have not made the device for that until now; although we tried to touch the ‘light-colour’ image on TV like “Winky-Dink and you [1953-57]”, even though it was just pretend touching.

‘Light-colour’ with the computer
Now, we have computers in order to control the weightless image formed by the electric light. It may mean that the pure information meets the information machine. In the traditional sense, the light reflected from the material of the world makes the images. Although he realizes ‘TV image’ is made from ‘light-trough’, Mcluhan dare to say ‘TV image’ but it’s not an image in the traditional sense. Moreover, Komachiya shows that ‘light-colour’ cannot tell the nature of weight; therefore it does not show us its own materiality. In short, the image made from the electric light may be just colour information of thing in the traditional sense.
Ron Burnett shows us the unique point about the image in our age. He writes, “The distinction between images and information blurs into pixels, lines, and rates of compression.” (Burnett, 2004, p.47) His point of view about the image is not analogue and digital, which gives us many suggestions. Furthermore, Masaki Fujihata re-defines the colour as a concept because the computer releases the colour from its materiality. (Fujihata, 1997, p.7-11) Although Burnett and Fujihata recognize that the computer gives us the chance to control the information of ‘light colour’, they forget the electric display. In fact, ‘light-colour’ merges the image and the information into one entity on the electric display because of its nature; no weight, no contour. The computer must need the electric display to generate ‘light-colour’ image.

Touching ‘light-colour’ with the smooth materiality = Believing our body
Our seeing of ‘light-colour’ seduces our recent new kind of touching. We have always touched materials which had their own weight. Material like the plastic mouse or the glass of the display do not change by our touch. However, touching the material causes some changes in a weightless entity on the electric display. The human and computer are making a new circuit for dealing with weightless entity made from ‘light-colour’ via the material object which is our body and something like the mouse or trackpad.
Moreover, there is the smooth materiality like the plastic or glass when we pay attention to only contact surface of our fingers and object. For example, Apple writes “to stay smooth and pristine, the new Multi-Touch trackpad is made from wear-resistant etched glass. [Emphasis is added]” (Apple, 2008, online) Why is touching ‘light-colour’ connected to the smooth materiality? ‘Light-colour’ merges figure and ground; therefore there may be something flat, no contour in our vision field. ‘Light-colour’ does not show its own weight, therefore there may be no friction to grab and move in our tactile field. Consequently, the smooth materiality is very close to the reality of ‘light-colour’. Then, we touch the smooth materiality and see the colour-jumps in the ‘light-colour’ image at the same time. However, there is a paradox because we have our own body with some weights and its own contour. We paradoxically feel the heavy density of our body by giving weight and contour to the weightless image via our smooth touching, when we see and touch ‘light-colour‘ entity,
After seeing ‘light-colour’ for a long time, we just begin full-scale investigation for the new realm of tactility with the smooth materiality. David Katz writes, “What has been touched is the true reality that leads to perception. [Emphasis in original]” (Katz, 1989, p.240) We re-train our fingers with the smooth materiality in order to touch and generate new reality of ‘light-colour.’ This demand us to believe our body’s weight and density in the ‘light-colour’ world. And this belief creates new diverse bodily sensations in ‘Display Acts’.

Apple, 2008: (June 14, 2009 access)
Burnett, Ron, 2004. How Images Think, MIT press.
Fujihata, Masaki, 1997. Colour As a Concept, Bijiutsu-Shuppan-sha.
Goodman, Nelson, 1978. Ways of Worldmaking, Hackett publishing company.
Huhtamo, Erkki, 2007. Twin-Touch-Test-Redux in MediaArtHistories, Oliver Grau ed., MIT press, pp.71-101.
Huhtamo, Erkki, 2008. Tactile Temptation: About Contemporary Art, Exhibition, and Tactility in Interface Cultures, Chista Sommere, Laurent Mignonneau, Dorothee King ed., transcript, pp.129-139.
Katz, David, 1989. The World of Touch, translated by L.E. Krueger, Lawrence Erlbaum Associates.
Katz, David, 1996. The World of Colour, translated by R.B. MacLeod and C.W. Fox, Routledge.
Komachiya, Asao, 1996. Chi no me・Sora no me [the human history of vision], Keisou-Shobou.
Mcluhan, Eric & Marshall, 1988. Laws of Media: the new science, University Tronto press.
Mcluhan, Marshall, 2003. Understanding Media: the extensions of man, critical edition, W. Terrence Gordon ed., Gingko press.
Mizuno, Masanori & Motomaya, Kiyofumi, 2008. To see and Touch the Light Source in Proceedings of ISEA2008, pp.329-330.
Mizuno, Masanori, 2009. The formative process of “Display Acts” on the establishment of GUI, Doctor thesis, Nagoya University.









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